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《閃靈》之所以能成為一部恐怖電影的經(jīng)典之作，在于他將一種世人最為畏懼的情緒——孤獨(dú)，當(dāng)華麗的山頂酒店變成了囚禁靈魂的牢籠，電影將一個(gè)作家心靈從正常到瘋狂的蛻變?nèi)绱苏鎸?shí)的以呈現(xiàn)，使步步為營(yíng)的暴虐情緒以極致的恐怖渲染。

inherent tragedy of progress // PST=people spoil things // Not caring is what has preserved them // I particularly abhor metaphor. Metaphor is fraud. England with all its faults. A country house with all its shortcomings. // Country houses are window dressing, they mitigate nothing // A testament to time. We cannot hold time, though we can put it on hold while we live in the present. // This is not Allegory House. England not. History not. // It took me ages to realize it was for me to make it happen.

All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a

適合快進(jìn)著看，雖然很多地方不合邏輯但是能看到導(dǎo)演的野心，三星為了cult片

在青春刊物上不停的看到期望很高但是真正看到的時(shí)候已經(jīng)不是中二的年紀(jì)了對(duì)那一份狂熱只覺得莫名蓮見的長(zhǎng)睫毛很美麗拍內(nèi)斂男生的低頭角度和白襯衫對(duì)我的日后對(duì)少年的審美產(chǎn)生了極大的影響